DOCSLIB.ORG

GAMBANG SEMARANG TRADITIONAL DANCE for CHARACTER BUILDING of ELEMENTARY SCHOOL STUDENTS Atip Nurharini A, Yuyarti B Ab Semarang State University, Indonesia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GAMBANG SEMARANG TRADITIONAL DANCE for CHARACTER BUILDING of ELEMENTARY SCHOOL STUDENTS Atip Nurharini A, Yuyarti B Ab Semarang State University, Indonesia 3rd International Conference on Theory & Practice (ICTP, 2017), Adelaide, Australia ISBN: 978-0-9953980-5-4 www.apiar.org.au GAMBANG SEMARANG TRADITIONAL DANCE FOR CHARACTER BUILDING OF ELEMENTARY SCHOOL STUDENTS Atip Nurharini a, Yuyarti b ab Semarang State University, Indonesia. Corresponding email: [email protected] Abstract The aims of this research are to describe the form of students’ character in studying Gambang Semarang traditional dance and describing the studying proccess of Gambang Semarang traditional dance in character building of elementary school students at South Semarang Sub- district. The Sampling technique of this research uses purposive sampling which involves 30 students. To get data and information which relate to the problems which were analyzed, the researcher adopts techniques of observation, interviewing, documentation and field record. Data analysis technique which is used in this research is qualitative analysis. Results of this research are good characters which can influence the students as a result of following the studying activities of Gambang Semarang dance. There are some form of characters who appear as follows: students can reach an achievement, brave, they are able to control their emotions, they are able to socialize, skillful, appreciative, creative, discipline and responsible. Meanwhile, the implementation proccess of studying Gambang Semarang traditional dance is able to implant good attitude in the students. The success of studying proccess Gambang Semarang traditional dance overwhelms motivation, trains the students to be more creative, trains the students to be responsible, implants brave attitude and train appreciative attitude. Keywords: Gambang Semarang Traditional Dance, Studying Process, Character Building. 1.Introductıon Character is a someone’s disposition or behavior which has been had since they were born and something that diversifies each individual. Eventhough someone’s character is an individual’s basic disposition, in its development is influenced by family environment around them. To build a good character, it can be done through moral building and manner continuously. Moral is defined as a behavior which has to be acted repeatedly and it is not enough if it is done once to do a good thing, or just doing it sometimes. Someone can be said that they possessa certain character if it appears in them and it is motivated by their own motivation and behaviours aredone without any considerations or thoughts, especially in repetitive scenarios. Therefore, it seems that it is done involuntarily and it is not the moral’s reflection. In culture, there values are found, then become a root of characterictic forming in an area so that is getting high become national culture. However, culture is also divided into two kinds,conducive culture and not conducive culture for national building. Maintaining our culture means that we do not affraid to love our own regional culture. Regional is a former of national culture, as well as traditional arts. Traditional art is an expressive human activity in the form of statement or is for especially expressing the feeling. There are some thoughts, which are dominated by imagination that 57 would be expressed by an artist. Traditional art is one of some culture elements which are universal. It means that, it can be faced in each society with a different form or course. This Page Asia Pacific Institute of Advanced Research (APIAR) 3rd International Conference on Theory & Practice (ICTP, 2017), Adelaide, Australia ISBN: 978-0-9953980-5-4 www.apiar.org.au traditional art course from human expression is often called as tradition artworks. Traditional art is a mental activity and covers reward, enjoyment and admiration. Traditional art is a medium of communication between artists and connoiseurs through art products. Therefore, it can be separated from some elements such as expression, creation, originality, intuition and imagination. Traditional art consists of some express medium or expression which is known as tradition art form, in its development, tradition art has some functions for human living. (Ricard,2016) Gambang Semarang traditional dance is one of traditional art in Semarang Region. The dance’s existance in a region as an impact of people’s social living is not only a dance which is showed to be enjoyed from its moving, rhythm and appearance. Dance can be stated as a life reflection from society surrounding which create or arrange it as a form of aptitude which is often related to social culture activity and society’s religion. Dancing is an art of dance activity whichpurpos is to give a message to people about character education. We need to dance because this is a reflection of someone’s action which enjoys their life so that becomes happy, joyful and form of thanking to Allah SWT, because we have been given grace through beautiful dance. Gambang Semarang traditional dance is a kind of creative dance, because in its dancing style there are not seldom found some soft jokes. Beside using gamelan intruments (Semarang’s people use to say it Gambang), Gambang Semarang dance is also accompanied by other instruments’s rhythm such as recorder, kendang, bonang, kempul, gong, kecrek and the more unique one is found chinese stringed instruments such as koghayan and tohyan. Therefore, this dance is an acculturation from two cultures, chinese and javanese that describes interracial harmony. Songs that are used in this Gambang Semarang dance is created by Oei Yok Siang about decades ago. A memorable song for Gambang Semarang dance’s fans or elder generation in Semarang city and surrounding areas is “Empat Penari” (four dancer). Songs in Gambang Semarang exhibition feels very united, with the dancers that dance gracefully, happy and fresh. This dance has its own exclusive movement. It is showed when the dancers’s soles of the feet are teetering following the instruments rhythm and song which move dynamically and agile. Each kind of movement has a symbolic meaning describing Semarang society’s life. Gambang Semarang dance has had historical value in Semarang city. Therefore, it is usual if it is appointed and preserved as a tradition artwork in Semarang city. This dance contains aesthetic and traditional symbolic values which is hoped that can be fulfill Semarang society’s art necessary particularly with the expectation that this can realize acceptable artwork as a culture identity of coastal city in Central Java. Many schools in Semarang are always encouraging some activities relate to Semarang’s exclusive traditional art continuously. This aims to explore, preserve and develop cultural wealth. Based on analysis as it has been shown in the background, there are two statement of problems which are as follow: 1) How is the elementary students’s character formin studying Gambang Semarang traditional dance? 2) How is the studying proccess Gambang Semarang traditional dance in forming elementary students’s character? 58 Page Asia Pacific Institute of Advanced Research (APIAR) 3rd International Conference on Theory & Practice (ICTP, 2017), Adelaide, Australia ISBN: 978-0-9953980-5-4 www.apiar.org.au 2. Methodology 2.1 Research Design Based on considerations that overwhelms time, cost and energy effeciency, and also remember that are so many students in Dewi Sartika group, the researcher will not analyze or take the whole population. The researcher focuses on choosen informants by using certain consideration. Consideration in determining sample are: 1) Students that are interested in studying dance art 2) Students that are interested in studying activity of dance art 3) Students that are talented in studying dance art 4) Students that are studying dance art seriously There are some steps to take sample by using purposive sampling technique, as follows: 1) Total population amount of 150 respondents from some students in Dewi Sartika group, from the total above is choosen sample based on determined consideration. 2) Total sample by certain consideration that is 30 respondents consists of 15 students from SDN Wonodri and 15 students from SDN Peterongan. 2.2 Research Variable The Variable in this research is Gambang Semarang traditional dance which builds Elementary School students’ character in Dewi Sartika group South Semarang Sub-district. 2.3 Research Location The Research location is in Elementary Schools in Dewi Sartika group, South Semarang Sub- district. The Reasons for choosing this location are that the schools which become object of this research are partners for PGSD Department, Science Education Faculty UNNES and these Elementary Schools are included successful schools in studying dance art activity. 2.4 Technique of Collecting Data The data of this research are in the form of words and activities in studying Gambang Semarang traditional dance. Therefore, by studying Gambang Semarang traditional dance, it can build students’ character based on social regulations, society and culture. For collecting data and information related to the problems that are analyzed, the researcher uses some ways such as observation, interview, documentation and field record. The forth techniques will be described below: 1) Observation Technique Observation is an activity to observe something without influencing and recording to be used as an analysis material stimultaneously. According to that definition contains two things that should be noticed, there are: 1) Observation towards anything relates to studying Gambang Semarang dance; and 2) Recording
Load more

Recommended publications
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ...............................................................................................................
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 271 2nd International Conference on Arts and Culture (ICONARC 2018) Gambang Semarang Music as A Cultural Identity Of Semarang’s Community E Raharjo*, U Arsih Drama, Dance, and Music Department Faculty of Languages and Arts Universitas Negeri Semarang, Semarang, Indonesia *[email protected] Abstract—As a performing art “Gambang Semarang law, broadcasting program, performance form, and culture music” is part of gambang Semarang art that was created in [3]–[12]. However, the researches that exclusively discuss form of complex performing arts consisting of Drama, Dance, about gambang Semarang are form and function of and Music. Several efforts have been done by Semarang’s performance [12] and the process of cultural hybridization society to make it a cultural identity of Semarang. The purpose [6]. Therefore, the researches discuss about the form of of this research was to know, to describe and to analyze the Semarang society’s participation in making Gambang Semarang societies’ participation in supporting the process Semarang music as a cultural identity of Semarang. The data of making gambang Semarang music as one of cultural obtained were qualitative that were from observations, identity of this city. document studies, and deep interviews with the informants. The results showed that Semarang society’s effort in realizing II. METHODOLOGY Gambang Semarang music as Semarang’s cultural identity was This research was done by mix method approach. The manifested in both formal and non formal education, festivals or competitions, workshop, discussions, and performances. combination between qualitative and participatory approach was needed because the both approaches can complete each Keywords—gambang semarang, music, cultural identity other in the process of research’s data taking and data collecting.
    [Show full text]
  • Christianity in Javanese Culture and Society
    CHAPTER FOURTEEN CHRISTIANITY IN JAVANESE CULTURE AND SOCIETY Java is by far the most populous of the islands of Indonesia. In 2000 out of a total population of nearly 206 million some 121 million lived in the very densely populated island of Java, some 830 per km2 (about 60 in Sumatra, 10 for Central and East Kalimantan, 140 in North Sulawesi and slightly over 4 for Papua).1 Th e numbers for Christians in Java in 2000 were; Statistics for Javanese Christians in 20002 Province Number of Percentage Total population Christians Jakarta 837,682 10.04% 8,361,079 West Java 703,604 1.9% 35,724,092 Banten 213,135 2.63% 8,098,277 Central Java 874,245 2.83% 31,223,259 Yogyakarta 245,062 7.85% 3,121,045 East Java 799,276 2.3% 34,765,998 Total 3,673,004 3.03% 121,293,750 Totalling 3,673,004, the Christians in Java represent a mere 20.5% of the sum of Indonesian Christians, while about 60% of the whole population live in Java. Th is fi gure alone is already a good indication of the minority position of Christianity in this most important island of the archipelago. In 1800 there were virtually no native Christians in Java. Besides the white Christians there was a much larger number of Eurasian baptised, but the real growth of these communities took place during the last two centuries. Still, the vast majority of Javanese are Muslim. Th e capital of Jakarta, a melting pot of the various ethnic identities of the country, showed in 2000 slightly higher than the national overall number of Christians or 8.92%.
    [Show full text]
  • Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung
    Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu 2 Introduction 6 A Sketch of the Time Period of these Recordings 11 Emergence of Kebyar 29 The Balinese Gamelan Recordings from Bali, 1928: a track–by–track discussion: 33 Gamelan Gong Kebyar of Belaluan, Denpasar 46 Gamelan Gong Kebyar of Pangkung, Tabanan 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 57 List of Silent Archival Films 58 Acknowledgments 61 References Cited and Further Readings * Glossary on Separate PDF File1 1 The spellings in this article follow modernized Balinese orthography of dictionaries such as Kamus Bali Indonesia, by I Nengah Medera et.al. (1990). Although this system was proposed as early as 1972 it has been applied irregularly in writings on the arts, but we have chosen to adhere to it so as to reflect a closer relationship to actual Balinese aksara ‘letters of the alphabet, language’. For instance, many words with prefixes frequently spelled pe or peng are spelled here with the prefixes pa and pang. 1 Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution. The records were sold worldwide (or not sold, as it happened) and quickly went out of print. It was a crucial time in the island’s musical history as Bali was in the midst of an artistic revolution with kebyar as the new dominant style of music.
    [Show full text]
  • 8 Performing Indonesia Abroad1
    8 Performing Indonesia abroad1 Jennifer Lindsay In 1954, Sutanti was a young woman of twenty five.2 Her education had spanned three eras. She attended primary school during the Dutch colonial period, and when she was twelve had started study- ing Javanese classical dance at Kridha Beksa Wirama, the dance school established in 1918 by princes from the Yogyakarta palace.3 Sutanti attended junior high school in Yogyakarta during the Japa- nese occupation, was sixteen in 1945 when Indonesia declared its independence, and completed her schooling during the turbulent 1945-1949 revolutionary period. In the 1950s, she became a mem- ber of the newly established dance association Perkumpulan Kes- enian Irama Tjitra where she studied classical and contemporary adaptations of Javanese dance.4 In early 1954, Sutanti began working at the national govern- ment’s subdirectorate for the arts (Kantor Djawatan Kebudajaan 1 In 2010 I directed a 90 minute video documentary, titled ‘Menggelar Indonesia; Misi ke- senian ke manca negara 1952-1965’ (‘Presenting Indonesia: Cultural missions abroad 1952- 1965’) made up of extracts from interviews with 30 participants of the cultural missions of the 1950-1965 period, and illustrated with photographs from the interviewees’ personal collections. Copies of the documentary have been deposited in libraries of major centres of Indonesian/ Southeast Asian studies. Readers are encouraged to refer to the documentary. 2 There is some discrepancy on the date of Ibu Sutanti’s birth. Her employment records noted 1929, whereas her parents thought she was born in 1927. 3 Kridha Beksa Wirama was founded by P.A. Tejokusumo, P.A.
    [Show full text]
  • The Classroom Gamelan
    PROGRAM DEVELOPMENT The classroom gamelan by Deirdre Dean The inclusion of Indonesian music and language into the The Indonesian cultures best known in Australia are those of mainstream of Australian education is becoming increasingly Bali and Java, perhaps best known for the gamelan, or noticable. The difficulty many teachers find with including orchestra, the wayang kulit, shadow puppet plays, and the Indonesian music into their classroom programs is twofold. kecak (pronounced ke-chuck), monkey dance from Bali. Firstly, a lack of familiarity with the subject means that many teachers lack the confidence to teach the subject to their Javanese music traditions tend to lean more towards the court students. Secondly, many teachers are unaware of the variety traditions of the Middle Ages, fostered in the courts of the and types of resources available to them and, as a result, are sultans at Jogjakarta and Solo (Surakarta). Villages may even unable to create their own individual programs. have their own gamelan, and some villages have their own dalang, a resident dancer, singer and puppeteer who teaches The focus of this article is to provide teachers with a basic music and dance to the children of the village. format that has been used in secondary schools (but is easily adapted to primary situations) for over six years. The subject In Hindu Bali there was also a court tradition, but these were is based on Indonesian music, but has been adapted for fostered by radjas. A stately style of music, known as gamelan Australian students, and is thus more accessible for them. The gong, was common prior to the turn of the century, but list of resources at the end of the notes, particularly the disappeared soon after 1906 following the massacre of the bibliography, is not meant to be a definitive guide.
    [Show full text]
  • (Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And
    (LYRCD 7179) GAMELAN MUSIC OF BALI GAMELAN ANGKLUNG AND GAMELAN GONG KEBYAR RECORDINGS AND REVISED NOTES BY RUBY ORNSTEIN © 2011 Ruby Ornstein TRACKS 1. Topeng Tua – perforMed by GaMelan Angklung, Mas – 3:14 2. Kebyar Teruna – perforMed by Gunung Sari, Peliatan – 13:49 3. 3. Tabuhan Joged – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 7:37 4. Segara Madu – perforMed by GaMelan Angklung, Sayan – 3:12 5. Lagu No. 2 – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 6:27 6. GaMbang Suling – perforMed by GaMelan Gong Kebyar, Kedis Kaja – 8:58 7. Hujan Mas – perforMed by Gunung Sari, Peliatan – 6:35 NOTES Bali, one of the several thousand islands forMing the Republic of Indonesia, has long been faMous for its gaMelan Music. A tiny Hindu Minority in a predoMinantly MosleM land, the Balinese enjoy a way of life filled with an incredible nuMber of teMple celebrations and life‐cycle cereMonies, all of which require Music. In earlier tiMes when the Balinese rajas still Maintained splendid palaces, they supported large nuMbers of Musicians and dancers for gaMelan that belonged to their courts. Nowadays, with Most palaces reduced to a Mere shadow of their forMer Magnificence, their orchestras have been pawned or sold, and Musical activity is chiefly at the village level. GaMelan instruMents are owned by a village, a banjar (a sub‐section of a village), or by Musicians theMselves. In any case, the players forM a club to regulate their activities. And, if Money and leisure tiMe are less abundant than forMerly, and fewer gamelan clubs are active now than before 1940, there are still nearly 20 different kinds of gaMelan in Bali.
    [Show full text]
  • Heirs to World Culture DEF1.Indd
    8 Performing Indonesia abroad1 Jennifer Lindsay In 1954, Sutanti was a young woman of twenty five.2 Her education had spanned three eras. She attended primary school during the Dutch colonial period, and when she was twelve had started study- ing Javanese classical dance at Kridha Beksa Wirama, the dance school established in 1918 by princes from the Yogyakarta palace.3 Sutanti attended junior high school in Yogyakarta during the Japa- nese occupation, was sixteen in 1945 when Indonesia declared its independence, and completed her schooling during the turbulent 1945-1949 revolutionary period. In the 1950s, she became a mem- ber of the newly established dance association Perkumpulan Kes- enian Irama Tjitra where she studied classical and contemporary adaptations of Javanese dance.4 In early 1954, Sutanti began working at the national govern- ment’s subdirectorate for the arts (Kantor Djawatan Kebudajaan 1 In 2010 I directed a 90 minute video documentary, titled ‘Menggelar Indonesia; Misi ke- senian ke manca negara 1952-1965’ (‘Presenting Indonesia: Cultural missions abroad 1952- 1965’) made up of extracts from interviews with 30 participants of the cultural missions of the 1950-1965 period, and illustrated with photographs from the interviewees’ personal collections. Copies of the documentary have been deposited in libraries of major centres of Indonesian/ Southeast Asian studies. Readers are encouraged to refer to the documentary. 2 There is some discrepancy on the date of Ibu Sutanti’s birth. Her employment records noted 1929, whereas her parents thought she was born in 1927. 3 Kridha Beksa Wirama was founded by P.A. Tejokusumo, P.A.
    [Show full text]
  • The Javanese Gamelan Kyai Madu Laras (Venerable Sweet Harmony)
    THE JAVANESE GAMELAN KYAI MADU LARAS (VENERABLE SWEET HARMONY) A gift to the Faculty of Music from The Minister of Forestry of The Republic of Indonesia H.E.SUDJARWO JEREMY MONTAGU THE BATE COLLECTION OF HISTORICAL INSTRUMENTS UNIVERSITY OF OXFORD FACULTY OF MUSIC St.Aldate’s, Oxford £ 1.00 Sixth Edition Jeremy Montagu Among the earliest evidence for the Javanese Gamelan are a few instruments found archæologically and carvings on the eighth century AD Temple of Boro- bodur, which include bonangs1, sarons and gongs. Some instruments, including the rebab and the tarompet (a shawm which is displayed in the Shawm Case), were introduced with Islam in about the 14th century, and by the 15th century gamelans existed much as they do today. An increase in the number of instru- ments has continued, and the inclusion of a full set of kenongs and kempuls is comparatively recent. There are many varieties of gamelan in Indonesia today, consisting of different types and combinations of instruments, some with instruments made of bamboo, some with instruments of bronze, others with those of iron, and some with large numbers of instruments, and some with only a few. The Gamelan Kyai Madu Laras is the classic type of Central Javanese gamelan and is a full double gamelan of high-quality bronze instruments. It came to us from Klaten, a small town halfway between the two great centres of Central Javanese gamelan, Surakarta (or Solo) and Yogyakarta (or Jogya), as a most generous gift from the Minister of Forestry of the Republic of Indonesia, His Excellency Sudjarwo.
    [Show full text]
  • Global Gamelan in a Worldwide Pandemic Edited by Jody Diamond and Linda Hibbs
    COVID COLLECTED REPORTS We Will Survive: Global Gamelan in a Worldwide Pandemic edited by Jody Diamond and Linda Hibbs In March of the year 2020, the spread of the novel coronavirus on for bonding on a regular basis, we launched a series of our planet changed our lives. For those who practice gamelan and YouTube programs to explore theoretical and historical related arts, the restrictions that followed interrupted the very perspectives about Balinese gamelan, something we essence of our music-making: to gather with friends and teachers, rarely have time to dive into during hands-on rehearsals. to react and respond to each other, and to honor both distant [See the report by Pierre Paré-Blais on page 14.] Then roots and local flowers in our ever-evolving global community. came casual Zoom calls between musicians and attempts This issue of BALUNGAN is dedicated to the stories of gamelan at coordinating a virtual kecak, but these only reinforced during COVID, the challenges we faced, and the future that we the fact that for the most part, our heads were elsewhere. now must envision and create together. We express our deep Other immediate consequences of the pandemic were gratitude to all who contributed, and a sincere hope for everyone’s the cancellation of all concerts and activities for the current health, safety, and strength of spirit. artistic season, including I Made Terip’s visit to Montreal —Jody Diamond and Linda Hibbs as guest teacher and composer. This cancellation prompted [Table of groups, countries, and authors on p. 90.] us to rethink our upcoming objectives, wondering whether we’ll be able to regroup at all to prepare for any potential performance.
    [Show full text]
  • Indo 20 0 1107105566 161
    GENDER BARUNG, ITS TECHNIQUE AND FUNCTION IN THE CONTEXT OF JAVANESE GAMELAN* Sumarsam In the gamelan of Central Java there are three types of gender: gender panembung, 1 gender barung and gendfer panerus. The construction of these three instruments is similar. They are metallophones with bronze, iron, or brass keys suspended by cords over tube resonators. Gender panembung has six or seven keys and a range the same as the lowest section of the gender barung* 1s. Gendfcr barung usually consists of two and one-half octaves. Gender panerus has the same number of keys as gender barung but is pitched one octave higher. As a result, it overlaps gender barung by one and a half octaves. Here we are going to discuss only gender barung (hereafter referred to as gender), its technique and function in the context of the gamelan.2 Gender is generally accepted as an important instrument in the gam elan.3 45 Gending (gamelan compositions) with buka (introduction) by gender are named gending gender. In other gending, except gending bonang, 4 i f the rebab is absent from the ensemble, gender is called upon to play buka. Either the bonang barung or the gender has the right to play buka fo r gending lanearan. 5 The pitch of genddr is in the low and medium range. It produces full yet soft sounds. If gender is ab­ sent from the gamelan, the sound of the ensemble is not as full and sonorous. Thus barung (verbs, ambarung, binarung) , the second half of the full name for gender, means playing or singing together in order to create a full sound.
    [Show full text]
  • Speakers Res Artis Conference Bangkok 2021
    SPEAKERS DAY 1 - WEDNESDAY 8 SEPTEMBER 2021 ----------------------------------------------------------------------------------------- ELIZA DAWSON EXECUTIVE DIRECTOR, RES ARTIS (AUSTRALIA) 14:00-14:15 BKK TIME - OPENING WELCOME FROM RES ARTIS Eliza Dawson was appointed as the inaugural Executive Director of Res Artis in 2016 where her role is focused on fundraising, public profile and strategy for the organisation. Eliza served on the Res Artis Board of Directors from 2012 – 2016, including a 2-year term as Vice-President from 2014. For 6 years Eliza worKed as Arts Residencies Manager at AsialinK, Australia’s most long- standing artist residency program in the region. Eliza has diverse experience in the arts industry, having worKed at a range of local and international institutions and organisations. Eliza speaks intermediate level Indonesian and holds a MA Art Curatorship and BA Creative Arts, both from the University of Melbourne. MAMI KATSUYA PROGRAM DIRECTOR, KYOTO ART CENTER (JAPAN) 14:15-14:45 BKK TIME - CREATIVE ENCOUNTERS: REIMAGINING RESIDENCIES Mami Katsuya graduated from Hiroshima City University (B.A. in International studies). She had been an artist-in-residence coordinator of Kyoto Art Center and curator of Yuhisai KodoKan Foundation before her current position. Katsuya is interested in the process of art making and mechanisms of artist- in-residence programs in the contemporary art field. She has engaged with many international projects such as ‘The Instrument Builders Project: Circulating Echo’ (2018), Culture City of East Asia 2017 and FeldstärKe International (2017). She coordinated the 2019 Res Artis conference in Kyoto, “Creative Encounters: Reimagining Residencies”. She is a committee member of Higashiyama Artists Placement Service (HAPS), and Kyoto Writers Residency.
    [Show full text]